Telex Q II - FOH User Manual

Q II - FOH

Operators Manual

Klark Teknik Building

Walter Nash Road

Kidderminster

Worcestershire

DY11 7HJ

Tel: [phone]

Fax: [phone]

Email: [e-mail]

Website: www.ddaconsoles.com

Q II - FOH Operators Manual

 Telex Communications (UK) Limited

In line with the company’s policy of continual improvement, specifications and function maybe subject

to change without notice. This Operator Manual was correct at the time of writing. E&OE.

Contents

3 DECLARATION OF CONFORMITY
4 GENERAL INFORMATION
5 THE Q2 IN USE
7 WARRANTY
9 DIMENSIONS
10 SPECIFICATIONS
12 WIRING CONSIDERATIONS
12 GROUNDING
15 ATTENTION
16 MODULE DESCRIPTIONS

18 THE MATRIX SECTION
19 THE 20DB PAD
20 INPUT MODULE
28 VCA INPUT MODULE
31 STEREO EFFECT RETURN MODULE
36 MONO SUBGROUP OUTPUT MODULE
40 STEREO SUBGROUP OUTPUT MODULE
44 LCR SUBGROUP OUTPUT MODULE
48 FOLDBACK MASTER MODULE
49 AUXILIARY MASTER MODULE
50 STEREO MASTER MODULE
56 MASTER CONNECTOR PANEL
57 VCA MASTER MODULE
62 THE AUDIO MASTER MODULE

62 Q2 TECHNICAL DESCRIPTION

66 THE AUXILIARY MASTER MODULE
67 THE FOLDBACK MASTER MODULE
68 THE INPUT MODULE
76 THE MONO GROUP OUTPUT MODULE
78 THE STEREO GROUP OUTPUT MODULE
79 THE LCR GROUP OUTPUT MODULE
80 Q2 VCA
83 VCA MASTER MODULES

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 2

Declaration of Conformity

The Manufacturer of the Products covered by this Declaration is

Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.

The Directives Covered by this Declaration.

89/336/EEC Electromagnetic Compatibility Directive, amended by 92/31/EEC & 93/68/EEC
73/23/EEC Low Voltage Equipment Directive, amended by 93/68/EEC.

The Products Covered by this Declaration.
Equipment type Product Name Variants

Audio Mixing Console Q2 Q2 VCA
Audio Mixing Console Q2 Monitor Meterbridge
Audio Mixing Console QMR Meterbridge
Audio Mixing Console FMR
Audio Mixing Console Forum PA,Matrix,Mute
Audio Mixing Console Forum Monitor Meterbridge
Audio Mixing Console XL200
Audio Mixing Console XL250

The Basis on which Conformity is being Declared

The products identified above comply with the protection requirements of the EMC Directive and with the principal elements of
the safety objectives of the Low Voltage Directive, and the manufacturer has applied the following standards:

EN 55013 : 1990
Limits and methods of measurement of radio disturbance characteristics of Broadcast Receivers and Associated Equipment.
EN 50082-1 : 1992
Electromagnetic Compatibility - Generic Immunity Standard Part 1. Residential, commercial and light industry.
EN 60065 : 1994
Safety requirements for mains operated electronic related apparatus for household and similar general use.

The technical documentation required to demonstrate that the products meet the requirements of the Low Voltage Directive has
been compiled by the signatory below and is available for inspection by the relevant enforcement authorities. The CE mark was
first applied in 1996.

Signed: ................................ G.M.Squires

Authority: Product Support Manager.
Date: 1st, January 1997.

Attention

The attention of the specifier, purchaser, installer, or user is drawn to special measures and limitations to use which must be
observed when these products are taken into service to maintain compliance with the above directive. Details of these special
measures and limitations to use are available on request, and are also contained in product manuals.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 3

GENERAL

INFORMATION

Three channel or Left, Centre, Right panning differs from the
normal stereo panning arrangement in that where the conventional
left/right pan moves the signal across the stereo image, LCR
panning moves the mono signal across three distinct positions.
Using LCR panning gives a more spatial effect, offers more control
over vocal and effects positioning, and brings theatre performances
to life in a way that conventional stereo panning cannot.

In the LCR mode, the pan pot acts as follows. When panned hard
left, the signal is only fed to the left channel of the main output (or
sub-group). As the pan is rotated towards the centre, the signal to
the left decreases, and the signal to the centre channel increases
until at dead centre the signal only goes to the centre output. At
this point, no signal is fed to the right channel at all.

LEFT CENTRE RIGHT

Rotating the pan pot further (to the right) decreases the centre feed
while the right feed increases until at full clockwise rotation the
signal is only on the right channel.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 4

THE Q2 IN USE

Providing a hard centre image in addition to left and right speaker
clusters improves localisation, as has already been proven in the
cinema industry. Stars and soloists are typically mixed to the centre
channel. Back-up vocals and orchestra or band may be wrapped
around the vocalist in stereo, or panned across the three channels.

In Theatrical performances, LCR panning may be used to follow an
actor around the stage.

Q2's typical use in the theatre maybe as follows.

The main LCR output is used to feed the audience clusters. Further
flexibilty in mixing is provided if the 4 LCR sub-groups are fitted,
as groups can be formed with all signals in place, then simply
fader-controlled as a group to the main output.

Four of the auxiliary sends, labelled foldback, may be used to
provide stage monitoring, as the term foldback suggests. The other
four auxiliaries are then free for effects sends, perhaps using the
dual concentric controls as stereo pairs.

The matrix section has numerous uses. Apart from creating foyer
and backstage feeds, it can be used for distributed loudspeaker
arrays for SPL control further back in the house (see the section on
the Q2 matrix). If the Q2 stereo sub-groups are fitted, the matrix is
fully stereo, so that delayed arrays can be easily set up as distinct
and controllable stereo pairs down each side of the auditorium.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 5

Consultants and contractors will be pleased to note that Q2 has
balanced inputs and outputs throughout, including inserts. In
addition, all inputs and outputs (with the obvious exception of the
mic input) operate at a nominal level of +4dBu. This alone means
no catering for special levels on inserts, no compensating for
unbalanced insert sends which combine with balanced returns.

System connection and signal flow is therefore not console
dependant.

LEFT CENTRE RIGHT

F/B
(4)

EFFECTS

Q2

MATRIX OUTPUTS (8)

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 6

WARRANTY

If within a period of twelve months from the date of delivery of the
equipment to the End User it shall prove defective by reason only
of faulty materials and/or workmanship (but no faulty design) to
such an extent that the effectiveness and/or the usability thereof is
materially affected, the Equipment or the faulty component shall be
returned to the Distributor or DDA and subject to the following
conditions the Distributor or DDA will repair or at its option re­place the defective components. Any components replaced will
become the property of DDA.

Any Equipment or component returned will be at the risk of
the End User whilst in transit (both to and from the Distributor or
DDA) and postage and/or freight charges must be prepaid.

This Warranty shall only be available if:-

i) The Equipment has been properly installed in accordance

with the instructions contained in this manual.

ii) The End User has notified the Distributor or DDA in writing

within 14 days of the defect appearing.

iii) No persons other than authorised representatives of DDA or

the Distributor have effected any replacement of parts,
maintenance adjustments or repairs to the Equipment.

iv) The End User has used the Equipment for such purposes as

DDA recommends with only such operating supplies as meet
DDA’s specifications or approval and otherwise in all
respects in accordance with DDA’s recommendations.

Defects arising as a result of the following are not covered by this
Warranty : -

Faulty or negligent handling, chemical or electro-chemical or
electrical influences, accidental damage, Acts of God, neglect,
defficiency in electrical power , air conditioning or humidity
control.

Benefit of this Warranty may not be assigned by the End User.

End Users who are consumers should note that their rights
under this Warranty are in addition to and do not affect any other
rights to which they may be entitled against the seller of the
Equipment.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 7

DDA shall not be liable for any damage caused to persons
or property due to :-

i) Incorrect usage of the Equipment
ii) Other equipment attached to the Equipment, which is not

approved by DDA

iii) Modifications made by non-authorised persons, or by using

non-recommended parts, or incorrectly made.

In no circumstances shall DDA be liable for any indirect or
consequential costs, damages or losses (including loss of business
profits, operating time or otherwise) arising out of the use or
inability to use the product, whether or not the likelihood of
damage was advised to DDA or its distributor.

Fuses and filament lamps are specifically excluded from the
warranty

This notice does not affect your statutory rights.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 8

DIMENSIONS

Q2 Dimensions

24 Input Frame
Width : 1255mm / 49.4"
Depth : 810mm / 31.9"
Height : 368mm / 14.5"

32 Input Frame
Width : 1505mm / 59.25"
Depth : 810mm / 31.9"
Height : 368mm / 14.5"

40 Input Frame
Width : 1755mm / 69.1"
Depth : 810mm / 31.9"
Height : 368mm / 14.5"

48 Input Frame
Width : 2005mm / 78.9"
Depth : 810mm / 31.9"
Height : 368mm / 14.5"

Floorstand (optional)
Height to underneath of console : 700mm / 27.5"

Q2 Power Supply Dimensions

Height : 134mm / 5.25" (3U rack mounting)
Depth : 265mm / 10.5"
Width : Front panel 483mm / 19"

Housing 438mm / 17.25"

Nett Weight (unpacked): 7.8 Kg / 17.2 lbs

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 9

SPECIFICATIONS

Note : All specifications relate to dBu, ie 0dBu = 0.775V RMS

MAXIMUM GAIN

Mic Input to Mix Output: 86dB
Line Input to Mix Output: 40dB

FREQUENCY RESPONSE

Mic Input to Mix Output: 20Hz , -0.50dB
(gain 55dB) 20kHz, -0.20dB

Line Input to Mix Output 20Hz , -0.50dB
(gain 0dB) 20kHz, -0.20dB

NOISE, DIN Audio Weighted

Microphone Input
Gain 55dB, EIN Ref 200 Ohm <-127.5dBu

Line Input to Mix Output
Gain 0dB, 16 inputs routed <-83dBu

DISTORTION

Microphone Input to Mix Output

-50dBu input, +4dBu output <0.005%

Line Input to Mix Output
+4dBu input, +4dBu output <0.005%

CROSSTALK

Adjacent Channel, 1kHz <-100dBu
Group to Mix, 1kHz <-88dBu
Fader Attenuation 1kHz <-95dBu
Panpot Isolation, 1kHz <-72dBu

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 10

Q2 Power Supply Specifications

AC Mains Voltage selection :- 110V/120V/220V/240V

Power Consumption (max) : 750VA

AC Mains frequency : 50Hz. - 60Hz

Fuse Ratings: 220/230/240V - 6.3A

90/100/120V - 10A

Cooling Method: Internal fan

DC Power Outputs: +17 Volts, 7A max

-17 Volts, 7A max
+48 Volts, 0.35A max

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 11

WIRING

CONSIDERATIONS

To take full advantage of the excellent audio performance of DDA
mixing consoles, it is essential that the installation is carried out
with care and attention. All audio signals are referenced to the
system earth, which must be clean and noise-free, and essentially
equipotential. In addition, the earth system integrity is absolutely
necessary for safety .

Do not disconnect the mains earth wire from each piece of equip­ment as this could create a hazardous situation.

If in doubt consult a competent engineer and your local electricity
supply company to ensure that safety regulations are not infringed
or negated.

GROUNDING

The console metalwork MUST ALWAYS be connected to the
Mains earth via the PSU lead. However, the user has a choice as
regards the Audio 0V.

The Audio 0V should be taken from the Studio earthing System
which should take the form of a star wired system. Decide on a
central point for the main earth system and starfeed to all mains
outlets and equipment racks from this point. Common electrical
wiring practice is to daisy-chain earth wires from outlet to outlet,
but this is not recommended for audio installations. The location of
the earth system star point should be in a convenient, easily
accessible position, such as the main equipment rack. The star
point must then be connected to the incoming mains earth but
preferably should be connected to a totally separate technical
earth (if local electrical regulations permit).

This should take the form of a large copper plate or stake
buried as deeply as practical into the ground (a 1 metre [39"] cop­per stake hammered fully into the ground would be suitable).
This should then be fed to the studio star system via heavy gauge,
low impedance cable, with adequate precautions being taken to
prevent excessive corrosion of the cable/earth stake.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 12

Do not install other equipment (lighting, vending machines etc) to
the technical earth - only use it for Audio Equipment.

If the star point is derived from mains earth, however, and not from
a ground stake/plate, install separate clean and dirty mains outlets,
wired individually to the mains distribution box. Use the clean
supply for all audio equipment, and the dirty supply for all lighting,
vending machines etc. Do not mix the two systems. It may be
necessary to install an isolating transformer for the clean supply to
ensure adequate isolation from mains-borne interference. The
isolating transformer must be of adequate current capability and
should incorporate a Faraday Shield, connected to the incoming
mains earth.

All audio connecting cables should be good quality twin screened
cable. Do not use single screened cable.

It is very important that the screen is not used as the signal return.
Therefore connect the screen at one end only. Connecting the
screen at both ends will cause an earth loop into which external
hum fields will be induced.

In areas where high levels of radio frequency interference are
present the open end of the screen can be connected to earth
through a 0.01 microfarad capacitor. This will appear as a short
circuit at high frequencies, and lower the effective shield imped­ance to earth. However at audio frequencies the reactance of the
capacitor will be sufficiently high to not cause an earth loop.

In general, the screen should be connected at the signal source,
and not at the signal destination. The exception to this rule of
thumb is when connecting to an unbalanced input or to an elec­tronically balanced input. In these cases the wires being screened
are referenced to the destination earth.

Electronically balanced outputs which are to be operated in the
unbalanced mode should be unbalanced at the output connector,
not at the signal destination so that the signal current returns to
earth via the shortest, least reactive route.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 13

Rack mounted equipment which has unbalanced inputs and outputs
may need to be electrically isolated from the equipment rack and/
or other equipment to avoid earth loops.

DO NOT DISCONNECT THE MAINS EARTH.

Connect all equipment in a logical sequence, starting with the
monitor systems, followed by the multitrack and then the stereo
machines and the peripheral devices and isolate any earth loop
problems as they occur. It is very difficult to rectify a
problematical installation after everything has been connected due
to interaction between the various earth loops.

The Console is supplied with 1 power supply unit 3U high (5.25"),
19" rack mounting. The PSU supplies the console with +18V, ­18V, +48V phantom and Audio Ground (0V). Connection
between supplies and console is a cable, terminated at both ends by
polarised Harting multiway connectors. At the console the
connector is located on the rear panel of the console.

The normal length of the PSU-Console cables is 25 feet (8
metres).

The power supply requires the following Mains supplies :-

220-240 Volts AC, 6.3 A (Maximum current ratings)
100-120 Volts AC, 10 A (Maximum current ratings)

and is connected to the AC Mains via standard IEC 3 pin lead.

The PSU has an integral low-noise cooling fan and should be
provided with at least 1U (1.75") of rack space above and below it.

WARNING - ENSURE THAT THE CORRECT VOLTAGE
HAS BEEN SELECTED ON THE PSU BEFORE SWITCHING
ON THE UNIT.

The selection of the mains input voltage is made by removing the
fuse holder from the rear panel of the PSU, and replacing it in the
correct orientation for the local voltage supply. Ensure that the
correct value fuse is fitted to correspond to the supply .

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 14

ATTENTION

CABLES

This product should only be used with high quality, screened
twisted pair audio cables, terminated with metal bodied 3-pin XLR
connectors. The cable shield should be connected to Pin 1. Any
other cable type or configuration for the audio signals may result in
degraded performance due to electromagnetic interference.

ELECTRIC FIELDS

Should this product be used in an electromagnetic field that is
amplitude modulated by an audio frequency signal (20Hz - 20Khz),
the signal to noise ratio may be degraded. Degradation of up to
60dB at a frequency corresponding to the modulation signal may be
experienced under extreme conditions (3V/m, 90% modulation).

No permanent damage or degradation of performance will be
caused by these conditions.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 15

MODULE

DESCRIPTIONS

Before describing the module functions, it is worth looking at some
of the facilities in some depth which would otherwise be too long to
describe within the module texts.

THE CUE SYSTEM

SOLO MODE

Q2's cue system, smart cue, is as flexible as you want it to be. It
can be operated in several modes, the simplest of which is of course
a regular PFL solo system.

The three modes of cue listening are PFL (pre-fade), AFL (after­fade), and SIP (solo-in-place). The overall level of the cue signal
fed to the monitors is adjustable on the stereo master module, so
PFL signals will not present high level signals to the monitor
outputs.

The solo-in-place mode is different from the normal recording SIP
or other SIP modes in that cueinga channel or group will not
actually mute all the other channels. It would would be useless if
by soloing a group you cut the inputs to that group.
Instead, in SIP mode, any group cue pressed will override and
replace whatever signal is present on the main output, until the cue
is released when the original signal is returned. No channels are
muted, so all active parts of the group remain intact.
As this function could be considered as dangerous in a performance
situation, the SIP mode switch is located at the top of the module
away from all the other cue mode controls.

CUE PRIORITY

CUE BUTTON ACTION

MOMENTARY OR

LATCHING

Q2's smartcue system incorporates a cue priority function. Two
leds on the stereo master module indicate whether an INPUT CUE
or an OUTPUT CUE is active. If an output cue is active, pressing
an input cue will override and replace the output cue until released,
when the output cue signal will be returned. This is an important
facility in live sound production.

The action of the cue buttons is functional in two ways.
If the button is pressed quickly (normally), the channel latches into
cue mode, with a flashing led , and remains in cue mode until the
button is pressed again. This is the "latching" mode, and is the
normal method of cue operation.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 16

If the cue button is held depressed for at least one second, the cue
will become momentary , and only active until the cue button is then
released. This allows you to listen to a signal for a short period of
time and only have to press the button once.

CUE INTERLOCK

MODE

MASTER CUE RESET

A further method of operation involves a choice of additive or
exclusive cues.

In normal mode, the cues are additive. That is, any cue button
pressed adds its signal to any cues already pressed, so any number
of cues may be active at one time. To clear all the cues completely,
press the CUE RESET button on the stereo master module.

In the INTERLOCKED mode. pressing a cue button will clear the
previous cue, so only one cue may ever be active at any time. This
prevents cue signals adding.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 17

THE MATRIX

SECTION

Nowadays, any console destined for theatre or similar live
performance use must have a matrix. This matrix takes the group
signals, and probably other signals, and allows different sub mixes
to be created for many uses.

Traditionally, matrices have been used to provide backstage mixes,
dressing room and foyer feeds where some elements of the mix are
not required. For example, you may want to send a different mix of
an opera or stage show to the dressing rooms to acentuate certain
points in the peformance.

Now, with demands for sound level control increasing, a matrix is
mandatory for distributing sound throughout an auditorium. Using
the normal front of house stacks, people at the rear of a hall may
need the system power increased for suitable listening levels, while
those at the front will no doubt then be deafened. The answer is to
provide arrays of loudspeakers, with mixes of suitably delayed
signals, stretching from the front of the hall to the back, to provide
more comfortable localised levels for better audience reception.
Here, the matrix increases the potential of creativity of the
performance, as by utilising the mixing facilities of the matrix, a
more surround sound effect may be created by perhaps focusing
vocals to the front, and mixing effects and music around the hall.

Q2's matrix offers all the flexibility that you need. In addition to a
feed from all the group outputs each matrix output may be fed from
the main stereo and mono (or LCR) buses, and any 2 of the four
foldnack mixes. This latter facility is extremely useful when you
consider that you can now set up one mix on a foldback bus, and
feed portions of that mix to any or all of the matrix outputs.

With fader control, CUE and ON/OFF facilities, Q2's matrix is
peraps one of the most powerful systems available on a console.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 18

THE 20DB PAD

One trend in modern console design that DDA has chosen not to
follow is the removal of the traditional 20dB pad in favour of a
wide range gain control system.

The reason for this is mostly due to the use of microphone input
transformers. Their position in the circuit is always before the
input amplifier. Without a pad, the risk of saturating the
transformer with high level microphone outputs is extreme, unless
very large transformers are used.

DDA's philosophy places the 20dB pad before the transformer to
eliminate the risk of transformer saturation.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 19

INPUT MODULE

The input module is essentially the same for all subgroup versions
of Q2, with links selecting whether the buses feed 8 mono, 8 stereo,
4 LCR or 16 mono subgroups. Dedicated LCR input modules have
4 routing buttons marked A, B, C, and D instead of buttons 1-8.

MTR
This sub-panel preset is for calibration of the external meter output
of the module.

48V
Provides phantom power for a condenser microphone, or DI box.
Optional balancing transformers may be fitted on the Mic input.

-20dB (PAD)
This inserts a 20dB attenuator in circuit with the Mic input. It may
be used when high-output microphones are employed, or for the
use of the Mic input for Line-level signals.

GAIN
The gain control is a wide range rotary potentiometer, and is active
on both Mic and Line Inputs. On Mic, the gain can be adjusted
from 12 to 66dB. For Line inputs, the adjustment is from -10 to
+20dB.

LINE
The LINE switch selects the signal on the line input socket to feed
the channel path when it is down. In this case, the Mic signal is
disconnected. The led illuminates when Line is selected.

PHASE
The PHASE REVERSE switch inverts the phase of the selected
input, to allow compensation for different wiring standards.

FILTER
The Filter switch inserts a tuneable highpass filter with a roll-off of
12dB per octave into circuit after the input amplifier. This may be
used to eliminate unwanted low-frequency noises such as rumble,
or camera buzz.

FILTER FREQUENCY CONTROL
The frequency range of the filter is continuously variable between
20Hz to 500Hz.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 20

EQUALISER

The Q2 Equaliser is a four-band design, all bands having sweep
frequency adjustment. Each band consists of two dual-concentric
pots. The upper pot is the gain adjustment, the lower control being
the frequency adjustment. The two mid-range sections each have a
switch-selectable Q.

HF
Shelving section, providing +/-15dB of gain with an adjustable
frequency range of 2kHz to 20kHz.

HI MID
Peaking section, providing +/-15dB of gain, at frequencies from
525Hz to 15kHz.

Q
Selects the Q to be 0.9 or 1.8. The Q is 0.9 when the switch is in
the ‘down’ position.

LO MID
Peaking section, providing +/-15dB of gain, at frequencies from
80Hz to 2.2kHz.

Q
Selects the Q to be 0.9 or 1.8. The Q is 0.9 when the switch is in
the ‘down’ position.

LF
Shelving section, providing +/-15dB of gain with an adjustable
frequency range of 20Hz to 500Hz.

EQ IN
The EQ switch inserts the entire equaliser circuit into circuit.
When switched out, the equaliser is totally bypassed, keeping the
signal path to a minimum. The led in the switch illuminates when
the EQ is in circuit. The Insert point is normally located after the
EQ section, but a switch located on the module pcb allows the
insert to be pre-EQ.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 21

AUXILIARIES
Q2 has eight auxiliary buses, accessed on the Input module from 4
sets of dual-concentric controls. In addition, the channel direct
output may be controlled via one pot, to provide extended auxiliary
sends. For convenient assignment four of the auxiliary buses are
denoted as foldback buses.

F/B 1 (Foldback 1, upper control)
Controls the level of the channel signal fed to the Foldback 1 bus.
This signal is normally post-fader, unless the PRE button, just
below, is depressed. Internal links on the module pcb allow the
pre-fader feed to be pre or post-EQ (paired with F/B 2).

F/B 2 (Foldback 2, lower control)
Controls the level of the channel signal fed to the Foldback 2 bus.
This signal is normally post-fader, unless the PRE button, just
below, is depressed.

PRE
Selects the signal feed for Foldbacks 1 and 2 to be pre-fader rather
than post-fader.

F/B 3 (Foldback 3, upper control)
Controls the level of the channel signal fed to the Foldback 3 bus.
This signal is normally post-fader, unless the PRE button, just
below, is depressed. Internal links on the module pcb allow the
pre-fader feed to be pre or post-EQ (paired with F/B 4).

F/B 4 (Foldback 4, lower control)
Controls the level of the channel signal fed to the Foldback 4 bus.
This signal is normally post-fader, unless the PRE button, just
below, is depressed.

PRE
Selects the signal feed for Foldbacks 3 and 4 to be pre-fader rather
than post-fader.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 22

AUX 1 (Upper control)
Controls the level of the channel signal fed to the Aux 1 bus. This
signal is normally post-fader, unless the PRE button, just below, is
depressed. Internal links on the module pcb allow the pre-fader
feed to be pre or post-EQ (paired with Aux 2).

AUX 2 (Lower control)
Controls the level of the channel signal fed to the Aux 2 bus. This
signal is normally post-fader, unless the PRE button, just below, is
depressed.

PRE
Selects the signal feed for Auxes 1 and 2 to be pre-fader rather than
post-fader.

AUX 3 (Upper control)
Controls the level of the channel signal fed to the Aux 3 bus.
This signal is normally post-fader, unless the PRE button, just
below, is depressed. Internal links on the module pcb allow the pre­fader feed to be pre or post-EQ (paired with Aux 4).

AUX 4 (Lower control)
Controls the level of the channel signal fed to the Aux 4 bus. This
signal is normally post-fader, unless the PRE button, just below, is
depressed.

PRE
Selects the signal feed for Auxes 3 and 4 to be pre-fader rather than
post-fader.

DIR
Re-routes the signal on the Aux 4 control to feed the Channel
Direct output. The signal no longer feeds the Aux 4 bus, and can
be used either as an additional single effects send, or as a feed to a
multitrack for example.

Note: Dir and Pre are local to the module, they do not affect the
signal flow on any other module than the one on which they are
located.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 23

ROUTING AND STATUS

PAN
In normal mode and with the PAN set to centre, equal levels are
sent to both sides of the stereo mix or to ODD and EVEN groups
that are in use, with a 4.5dB drop relative to fully clockwise or anti­clockwise. Setting the PAN control fully anticlockwise sends full
level to the Left bus, cutting the send to the Right bus; fully
clockwise rotation sends full level to the Right bus, cutting the
feed to Left.

L/R
Routes the post-fade, post-pan channel signal to the main stereo
mix bus, with led indication. The PAN control is automatically
inserted into circuit.

MONO
Routes the post-fade, post-pan channel signal to the main mono
mix bus, with led indication.

PAN
Switches the PAN control in circuit across odd and even group
buses, with led indication.

LCR
Changes the mode of the pan pot from conventional stereo (L/R
panning as described above to Left-Centre-Right mode. In this
mode, the pan control acts across all three main buses, using the
mono bus as a centre bus. When the pan is fully anti-clockwise,
signal is sent only to the left bus, with no signal to centre or right
buses. In the centre, signal is sent only to the centre (mono) bus,
with no signal to left or right buses. When fully clockwise, signal is
only sent to the right bus, with no signal sent to left or centre buses.

If a pair of groups (eg 1 and 2) is selected, the pan also acts in LCR
mode, but without a centre output from the groups unless the LCR
group modules are fitted.

11

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 24

1
Routes the post-fade, post-pan channel signal to output bus 1, with
led indication.

2 ( and 3, 4, 5, 6, 7, 8)
Routes the post-fade, post-pan channel signal to output bus 2 (and
3, 4, 5, 6, 7, and 8 if pressed), with led indication.

ON
The ON switch enables the channel signal path, and is indicated by
an led in the switch when the channel is active. When OFF, all
post-fade auxiliary sends and routing assignments are muted.
Internal links allow the ON switch to be configured as a channel
CUT.

METER
The six segment led meter comprises a five segment meter, fed
from one of three points in the signal chain, and the PEAK led,
which is fed simultaneously from all 3 points, giving a warning of
potential overload signals within the signal path.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 25

CUE
The CUE (or SOLO) button feeds a Pre-fader or post-fader signal
(as selected on the master module PFL or AFL) to the Monitor
section (loudspeakers or headphones), replacing the selected
monitor source if one is selected. The main stereo output of the
console is not affected unless SIP (Solo-in-place) mode has been
selected on the master . The yellow led in the CUE switch will flash
when the CUE function is active. CUE signals from different
sources that are active simultaneously in the non-interlocked mode
will be summed.

To latch the CUE function, press the button quickly and release. To
unlatch, repeat. To CUE a signal momentarily, hold down the CUE
button for at least 1 second. On release, the CUE will also be
released.

See THE CUE/SOLO SYSTEM on page 16 for full functional
details.

FADER
The fader is the main signal level control for the channel, and is a
long-throw type which gives smooth control of the channel level.

SAFE
Deselects the return from the VCA/MUTE Group system, without
affecting the mute group assignments. Useful to locally protect
signals, or manually override grouped MUTE ON conditions.

MUTE GROUP 1
Assigns the channel to MUTE Group 1. Similarly for MUTE
Groups 2 through 8.

Q2 OPERA TION AND MAINTENANCE MANUAL 9601 26